LEADER 03319nam 22004932 450 001 996210321003316 005 20151109030845.0 010 $a1-139-81723-X 010 $a1-139-00090-X 035 $a(CKB)2670000000147330 035 $a(SSID)ssj0000588165 035 $a(PQKBManifestationID)11409133 035 $a(PQKBTitleCode)TC0000588165 035 $a(PQKBWorkID)10645878 035 $a(PQKB)10218680 035 $a(UkCbUP)CR9781139000901 035 $a(EXLCZ)992670000000147330 100 $a20110114d2005|||| uy| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe Cambridge companion to the concerto /$fedited by Simon P. Keefe$b[electronic resource] 210 1$aCambridge :$cCambridge University Press,$d2005. 215 $a1 online resource (xxv, 309 pages) $cdigital, PDF file(s) 225 1 $aCambridge companions to music 300 $aTitle from publisher's bibliographic system (viewed on 09 Nov 2015). 311 $a0-521-54257-X 311 $a0-521-83483-X 320 $aIncludes bibliographical references and index. 327 $gIntroduction /$rSimon P. Keefe --$gPART I. CONTEXTS --$tTheories of the concerto from the eighteenth century to the present day /$rSimon P. Keefe --$tThe concerto and society /$rTia DeNora --$gPART II. THE WORKS --$tThe Italian concerto in the late seventeenth and early eighteenth centuries /$rMichael Talbot --$tThe concerto in northern Europe to c.1770 /$rDavid Yearsley --$tThe concerto from Mozart to Beethoven : aesthetic and stylistic perspectives /$rSimon P. Keefe --$tThe nineteenth-century piano concerto /$rStephan D. Lindeman --$tNineteenth-century concertos for strings and winds /$rR. Larry Todd --$tContrasts and common concerns in the concerto 1900-1945 /$rDavid E. Schneider --$tThe concerto since 1945 /$rArnold Whittall --$gPART III. PERFORMANCE --$tThe rise (and fall) of the concerto virtuoso in the late eighteenth and nineteenth centuries /$rCliff Eisen --$tPerformance practice in the eighteenth-century concerto /$rRobin Stowell --$tPerformance practice in the nineteenth-century concerto /$rDavid Rowland --$tThe concerto in the age of recording /$rTimothy Day. 330 $aNo musical genre has had a more chequered critical history than the concerto and yet simultaneously retained as consistently prominent a place in the affections of the concert-going public. This volume, one of very few to deal with the genre in its entirety, assumes a broad remit, setting the concerto in its musical and non-musical contexts, examining the concertos that have made important contributions to musical culture, and looking at performance-related topics. A picture emerges of a genre in a continual state of change, re-inventing itself in the process of growth and development and regularly challenging its performers and listeners to broaden the horizons of their musical experience. 410 0$aCambridge companions to music. 606 $aConcerto 615 0$aConcerto. 676 $a784.2/3 702 $aKeefe$b Simon P.$f1968- 801 0$bUkCbUP 801 1$bUkCbUP 906 $aBOOK 912 $a996210321003316 996 $aThe Cambridge companion to the concerto$92576157 997 $aUNISA LEADER 01398nas 2200385-- 450 001 9910893388603321 005 20100409120908.0 035 $a(DE-599)ZDB3176823-4 035 $a(CKB)991042726128494 035 $a(CONSER)---78645859- 035 $a(EXLCZ)99991042726128494 100 $a20790206a19689999 -ar d 101 0 $ajpn 200 00$a??????? 210 $a[Sendai]$cT?hoku Daigaku Rigakubu Fuzoku Genshi Butsurigaku Kenky? Shisetsu 215 $a1 online resource 311 08$aPrint version: ??????? [[??????????????]] (DLC)---78645859- (OCoLC)4621042 0385-2105 517 $aKAKURIKEN KENKYU HOKOKU 517 3 $aResearch report of Laboratory of Nuclear Science, Tohoku University 531 0 $aKakuriken kenky? h?koku 606 $aNuclear physics$vPeriodicals 606 $aSolid state physics$vPeriodicals 606 $aChemistry, Physical and theoretical$vPeriodicals 606 $aNuclear chemistry$vPeriodicals 615 0$aNuclear physics 615 0$aSolid state physics 615 0$aChemistry, Physical and theoretical 615 0$aNuclear chemistry 676 $a539.7/05 712 02$aT?hoku Daigaku.$bGenshikaku Rigaku Kenky? Shisetsu. 906 $aJOURNAL 912 $a9910893388603321 920 $aexl_impl conversion 996 $a???????$94447334 997 $aUNINA